The Tober

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What an interesting life this 1957 Meskowski-Foyt-McKee Champ Car for sale on Hemmings.com has led so far: Raced by A.J. Foyt, once owned by Tony Lapine, rebuilt by Porsche, and later breathed on by Bob McKee, all well documented. Even without that history, though, it’s a compelling car, seemingly well built, updated with a modern drivetrain, and ready to race. From the seller’s description:

outstanding racing history and ownership. Appraised and ownership verified by C Haines of Can-Am Cars LTD. Owned/raced by Foyt thru 1963– in 1980 Purchased by Anatole Lapine/Chief Design Engineer of Porsche. Rebuilt/Restyled at Porsche skunkworks and successfully Vintage Raced in Europe for 20 years. Back in US 2004 refreshed with new Chevy/Webers/Tremac/Quartermaster by Bob McKee of McKee Engineering. Very low time/recent track prep w/new Dunlops. Fantastic car welcome at Vintage Events — easy to enjoy with self starter/alternator/clutch. Binder of Historic photos and documentation.

Price

$125,000

Location

Dallas, Texas

Availability

There you go, I prepared a second transparent version too. Now you can hiss at people on the internet

It’s a bit of a late reply, sorry about that. I’m usually too busy with work & drawing to keep up with responses, and the way tumblr works doesn’t make any of it easier either…(T^T);; but I’m gonna try to skim through a couple of them, even though I wish I had time to do most of them

Online synths and other proofs of concept are likely just the beginning. Web music development began as a sometimes muddled conversation about whether browsers will replace traditional app deployment (so far, probably not). But as the tech has matured, developers are instead looking to ways to use the Web to create new kinds of apps that perhaps didn’t make sense as standalone tools in “native” software (or, for that matter, hardware).

That’s why it’ll be interesting to watch efforts like Yamaha’s to add browser-based patch editing and sharing for their Reface line. There are also more ambitious ideas, like using the browser to share audio for interviews, radio conversations, backup, and works-anywhere recording and streaming.

And there’s more.

Keith McMillen has a great two-article series introducing you to Web MIDI.

It explains what this is all about and what it can do – whether or not you are a developer, worth reading. And if you are a developer, code snippets!

There’s even some explanation of how to use MIDI code outside of Chrome. (Firefox and even Microsoft’s new Edge promise support soon.)

When we first started using the Web, it seemed like a clumsy way to duplicate things done better elsewhere. Now, it promises to be something different: a place that takes the software and hardware we love, and makes it more useful and connected. There’s something wonderful about switching the Internet off in the studio and focusing on making music for a while. But in this model, when you do turn the Internet on again, it becomes a place to focus more on music rather than be distracted.